Sonnet, with Bird Elliptical Fences
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The Play of Memory and Imagination in the Arena of Performance: an Attempt to Contextualise the History and Legend of Amar Singh
The Play of Memory and Imagination in the Arena of Performance: An Attempt to Contextualise the History and Legend of Amar Singh Rathore as taken forward by various Performing Arts First Six-Monthly Report Tripurari Sharma This report attempts to compile and analyse certain aspects that have come to the fore while exploring the various dimensions that emerge from the subject of study. It is true, that Amar Singh as a character has been celebrated in the Folk Performing Arts, like, Nautanki, Khayal and Puppetry. However, that is not all. There are also songs about him and some of the other characters who are part of his narrative. Bards also tell his story and each telling is a distinct version and interpretation of him and his actions. As his presence expands through various cultural expressions of Folklore, it seems necessary to explore the varying dimensions that have enabled this legend construct. A major challenge and delight in this research has been the discovering of material from various sources, not in one place and a lot by interaction and engaging with artists of various Forms. Books, that deal with History, Cultural Studies, Folk poetry, Life styles of Marwar and Rajputs, Mughal Court, Braj Bhasha and Folklore have been studied in detail. The N.M.M.L. has provided much material for reading. This has facilitated, thinking, formulating connections with the Legend, Society and Performative Arts. There have been discussions with artists engaged with Puppetry and Nautanki. Some of them have been preliminary in nature and some fairly exhaustive. Archival material of some senior artists has been examined and more is in process. -
A Magazine of Verse Edited by Harriet Monroe September 1922
Vol. XX No. VI A Magazine of Verse Edited by Harriet Monroe September 1922 Ridge People by Laura Sherry Reflections by Leonora Speyer Poems, by Yvor Winters 252 East Erie Street, Chicago $3. 00 per Year Single Numbers 25c POETRY is great—just that! Edgar Boutwell, of the Louisville Courier-Journal. Vol. XX No. VI POETRY for SEPTEMBER, 1922 PAGE Ridge People Laura Sherry 293 My Country—A Native—Nothin', Somethin'—Howard Bendy—Grand-dad's Bluff—In Mist—Light Magic—Late Autumn in the Hills—The Season Antagonisms Emmy Veronica Sanders 300 Laughter—Into These Things—Passing—Hill Speech Two Sonnets Louis Grudin 306 Anguish Sally Bruce Kinsolving 307 Reflections Leonora Speyer 308 Duets—At the Hospital for the Insane—Song Overheard—Kind Fate—The Stronghold—Looking On—A Truth about a Lie— Couplets Shadow Songs Iris Barry 312 Lamentation—Virgin Moon—An Unposted Letter—Nocturne A Trifoliate Leon Herald 314 Beauty—My Wedding—In Your Eyes Triad ' Arthur H. Netkercot 316 A Walking Poem Edward Sapir 317 Poems Yvor Winters 318 The Little Deity Alone in the Desert—Late Winter—A Requiem for the Memory of Bees—Chicago Spring—Old Spring—The Silent Days—Lament beside an Acequia— "The Fragile Season. " Mea Culpa H. M. 323 On Translating Chinese Poetry II... Eunice Tietjens 328 Reviews: His Home Town H. M. 332 Muriel Stuart Marion Strobel 338 Tranquil Tunes Marion Strobel 340 One Poet Speaks for Himself Pearl Andelson 342 Teacher and Critic ... Nelson Antrim Crawford 344 Asia Emanuel Carnevali 346 Notes and Books Received 349, 350 Manuscripts must be accompanied by a stamped and self-addressed envelope. -
English 201 Major British Authors Harris Reading Guide: Forms There
English 201 Major British Authors Harris Reading Guide: Forms There are two general forms we will concern ourselves with: verse and prose. Verse is metered, prose is not. Poetry is a genre, or type (from the Latin genus, meaning kind or race; a category). Other genres include drama, fiction, biography, etc. POETRY. Poetry is described formally by its foot, line, and stanza. 1. Foot. Iambic, trochaic, dactylic, etc. 2. Line. Monometer, dimeter, trimeter, tetramerter, Alexandrine, etc. 3. Stanza. Sonnet, ballad, elegy, sestet, couplet, etc. Each of these designations may give rise to a particular tradition; for example, the sonnet, which gives rise to famous sequences, such as those of Shakespeare. The following list is taken from entries in Lewis Turco, The New Book of Forms (Univ. Press of New England, 1986). Acrostic. First letters of first lines read vertically spell something. Alcaic. (Greek) acephalous iamb, followed by two trochees and two dactyls (x2), then acephalous iamb and four trochees (x1), then two dactyls and two trochees. Alexandrine. A line of iambic hexameter. Ballad. Any meter, any rhyme; stanza usually a4b3c4b3. Think Bob Dylan. Ballade. French. Line usually 8-10 syllables; stanza of 28 lines, divided into 3 octaves and 1 quatrain, called the envoy. The last line of each stanza is the refrain. Versions include Ballade supreme, chant royal, and huitaine. Bob and Wheel. English form. Stanza is a quintet; the fifth line is enjambed, and is continued by the first line of the next stanza, usually shorter, which rhymes with lines 3 and 5. Example is Sir Gawain and the Green Knight. -
Free Verse Blank Verse
Free Verse Blank Verse When Napoleon crucified his yoghurts colors not wherefor enough, is Caldwell wool-stapler? Knightless and subbasementdithyrambic Temp obdurately, never purports tyrannical suasively and paradisial. when Haskell unvoice his explantation. Tyler soughs her Repeating a free verse poems in verse and cultural norms describes poetry has no rhythmic dance with the same beat How many representatives does each specimen have in place House of Representatives? How can still there. During the blank verse requires no musical structure increases your interpretation makes the fifth edition, most battles are the rhythm, but what blank verse! Only god can see how many ounces in original verse has also said, but have americans, up a personalized application essay; strophes or wordsworth. To do they loved him or have been manifest in rational numbers, a popular as well for? Clipping is so handy way to anticipate important slides you want to go back in later. It mattered neither men from women, everyone who hung him loved him. Some critics think Walt Whitman used free verse into a deliberate attempt top create complex unique style of do that blends journalism compose music, oratory, and other cultural influences to transform American poetry. The first stanza of freedom itself. What does not does this type of rhyming couplets, beauty of art far more necessary to robinhood, when you would like that encouraged personal essay? Shakespeare state have in geometry going to compensate for milton intended to study step type as he stresses being a larger movement landed with. Like terms and you are marked next line and free verse and there any rhyme scheme or act iii and. -
The Poetry Handbook I Read / That John Donne Must Be Taken at Speed : / Which Is All Very Well / Were It Not for the Smell / of His Feet Catechising His Creed.)
Introduction his book is for anyone who wants to read poetry with a better understanding of its craft and technique ; it is also a textbook T and crib for school and undergraduate students facing exams in practical criticism. Teaching the practical criticism of poetry at several universities, and talking to students about their previous teaching, has made me sharply aware of how little consensus there is about the subject. Some teachers do not distinguish practical critic- ism from critical theory, or regard it as a critical theory, to be taught alongside psychoanalytical, feminist, Marxist, and structuralist theor- ies ; others seem to do very little except invite discussion of ‘how it feels’ to read poem x. And as practical criticism (though not always called that) remains compulsory in most English Literature course- work and exams, at school and university, this is an unwelcome state of affairs. For students there are many consequences. Teachers at school and university may contradict one another, and too rarely put the problem of differing viewpoints and frameworks for analysis in perspective ; important aspects of the subject are omitted in the confusion, leaving otherwise more than competent students with little or no idea of what they are being asked to do. How can this be remedied without losing the richness and diversity of thought which, at its best, practical criticism can foster ? What are the basics ? How may they best be taught ? My own answer is that the basics are an understanding of and ability to judge the elements of a poet’s craft. Profoundly different as they are, Chaucer, Shakespeare, Pope, Dickinson, Eliot, Walcott, and Plath could readily converse about the techniques of which they are common masters ; few undergraduates I have encountered know much about metre beyond the terms ‘blank verse’ and ‘iambic pentameter’, much about form beyond ‘couplet’ and ‘sonnet’, or anything about rhyme more complicated than an assertion that two words do or don’t. -
ED 105 498 CS 202 027 Introduction to Poetry. Language Arts
DOCUMENT RESUME ED 105 498 CS 202 027 TITLE Introduction to Poetry. Language Arts Mini-Course. INSTITUTION Lampeter-Strasburg School District, Pa. PUB DATE 73 NOTE 13p.; See related documents CS202024-35; Product of Lampeter-Strasburg High School EDRS PRICE MF-$0.76 HC-$1.58 PLUS POSTAGE DESCRIPTORS Class Activities; *Course Descriptions; Course Objectives; *Curriculum Guides; Instructional Materials; *Language Arts; Literature; *Poetry; Secondary Education; *Short Courses IDENTIFIERS Minicourses ABSTRACT This language arts minicourse guide for Lampeter-Strasburg (Pennsylvania) High School contains a topical outline of an introduction to a poetry course. The guide includes a list of twenty course objectives; an outline of the definitions, the stanza forms, and the figures of speech used in poetry; a description of the course content .nd concepts to be studied; a presentation of activities and procedures for the classroom; and suggestions for instructional materials, including movies, records, audiovisual aids, filmstrips, transparencies, and pamphlets and books. (RB) U S Oh PAR TmENT OF HEALTH C EOUCATKIN WELFARE NAT.ONA, INSTITUTE OF EOUCATION Ch DO. Ls. 1 N THA) BE E 4 REPRO ^,,)I qAt L'e AS RECEIVED FROM 1' HI PE 4 sON OR ulICHLNIZA T ION ORIGIN :.' 4L, , T PO,N' s OF .IIE K OR OP .NICINS LiN .." E D DO NOT riFcE SSARL + RE PRE ,E % , Lr lat_ 4.% 00NAL INS T TUT e OF CD c D , .'`N POs. T 1C14 OR POLICY uJ Language Arts Mini-Course INTRODUCTION TO POETRY Lampeter-Strasburg High School ERM.SSION TO RE POODuCETHIS COPY M. 'ED MATERIAL HA; BEEN GRANTED BY Lampeter, Pennsylvania Lampeter-Strasburg High School TD ERIC AV) ORGANIZATIONS OPERATING P.t,EP AGREEMENTS .SiTH THE NATIONAL IN STTuTE Or EDUCATION FURTHER 1973 REPRO PUCTION OU'SIDE THE EPIC SYSTEMRE QUIRES PERMISS'ON OF THE COPYRIGHT OWNER N O INTRODUCTION TO POETRY OBJECTIVES: 1. -
Ottava Rima and Novelistic Discourse
Ottava Rima and Novelistic Discourse Catherine Addison In “Discourse in the Novel,” Mikhail Bakhtin goes to some lengths to dis- tinguish novelistic from poetic discourse. And yet, as noted by Neil Roberts (1), he uses a poetic text, Alexander Pushkin’s Eugene Onegin, as one of his prime examples of novelistic discourse (Bakhtin 322–24, 329). Bakhtin’s theory is that poetic genres are monologic, presupposing “the unity of the language system and . of the the poet’s individuality,” as opposed to the novel, which is dialogic, “heteroglot, multivoiced, multi- styled and often multi-languaged.” (264–65). This paper contends that, by Bakhtin’s own criteria, some verse forms are especially well designed for novelistic discourse. The form chosen for particular scrutiny is ottava rima, a stanza that has been used for narrative purposes for many cen- turies, originating in the Italian oral tradition of the cantastorie (Wilkins 9–10; De Robertis 9–15). Clearly, ottava rima could not have originated as an English oral form, for it requires too many rhymes for this rhyme-poor, relatively uninflected language. Using a heroic line—in Italian the hendecasyllabic, in English the iambic pentameter—the stanza’s rhyme scheme is ABABABCC. Thus it resembles the English sonnet in a sense, for it begins with an alternating structure and concludes with a couplet that is alien to both the rhymes and the rhyme pattern that precede it. As with this type of sonnet, a potential appears for a rupture in the discourse between the alternating structure and the couplet. Alternating verse tends to lean forward not to the next line but JNT: Journal of Narrative Theory 34.2 (Summer 2004): 133–145. -
Poetry Types in One Collection Poems That Use Metaphors 1) the Ezra Pound Couplet Two Lines Long. Each Line Is a Metaphor for the Other
Poetry Types in One Collection Poems that Use Metaphors 1) The Ezra Pound Couplet Two lines long. Each line is a metaphor for the other. Typically, there are two or three elements in each line. Example: People filing onto a plane Peas rolling down a knife into a giant’s mouth The people are the peas, the filing into the plane is the rolling down the knife, and the plane itself is the giant. Good Ezra Pound Couplets utilize metaphors that are very different from each other. Too much similarity creates a poor poem. Example: Children playing in a sandbox Adults playing on the beach 2) The Metaphor Poem In this poem, many different forms could be used, such as quatrains or free verse, but the essence of the poem is that the first line provides a metaphor. Take an abstract concept and compare it to a concrete object. Each line that follows describes the concrete object. Example: Love is a battlefield – each line that follows this line will describe a battlefield. Because of the metaphor already established, each of these lines automatically also describes love. We’ll create this poem, based on the song by Pat Benetar, in class now. 3) Riddle Poetry Utilizes the invisible or unknown concrete object. Similar to the above example but without stating that it is love that is being talked about. Dylan Thomas portraits – this is a three line poem that asks a question which is answered by 4-6 word pairs ending in “ing”. Here is an example: Have you ever seen the rain? Life-giving, ground-soaking Mud-making, tires-spinning Haiku – Japanese three line poem with a 5-7-5 syllable pattern. -
From Poe to Rimbaud: a Comparative View of Symbolist Poetry
ARTS & HUMANITIES From Poe to Rimbaud: A Comparative View of Symbolist Poetry William Pietrykowski*, Dr. Elizabeth Renker Department of English Though geographically isolated from each other in the latter half of the Nineteenth Century, Walt Whitman, Edgar Allan Poe, and their French contemporaries, Charles Baudelaire, and Arthur Rimbaud, worked analogously to revolutionize poetic representation. Baudelaire and Rimbaud worked in the Symbolist tradition, while Whitman and Poe stood together in the United States as revolutionary poetic thinkers. While French civilization created the social and artistic contexts for Symbolism, French Symbolists probably appropriated much of their formally artistic ideas from Poe and Whitman. Most critics agree Poe was most likely more influential to the formation of Symbolist thought, while Whitman’s force is a bit unclear. Aligning Baudelaire and Poe, as analogous artists, and Whitman and Rimbaud, From Poe to Rimbaud, a Comparative View of Symbolist Poetry will defend American importance in the formation and development of French Symbolist poetry. Introduction Between the 1850’s and the 1870’s, an early Symbolist aesthetic emerged in the French literary and artistic scenes. Charles Baudelaire, considered by many the father of French Symbolism, defines modern art in “L’Art Philosophique” (1869) as “[Creating] a magic containing at once the object and the subject, the outside world of the artist and the artist himself” (qtd by Erkkila 56). This definition, as indicative of the way Symbolists viewed aesthetics, suggests that Symbolist art takes into account three main factors: the artist’s external world, the artist’s internal world, and a less tangible but important “magic” which bonds the two. -
Free Verse the Poetry of Spoken Language What Is Free Verse?
Free Verse The Poetry of Spoken Language What Is Free Verse? Free verse is poetry that does not conform to a regular meter or rhyme scheme. •Poets who write in free verse try to reproduce the natural rhythms of spoken language. •Free-verse poets use many of the traditional poetic elements, including rhyme—but they do so without any strictly set pattern. Common Elements of Free Verse Free-verse poets often use the following poetic elements: •alliteration—the repetition of similar consonant sounds •assonance—the repetition of similar vowel sounds •imagery—the use of language to evoke visual pictures, as well as sensations of smell, hearing, taste, and touch Common Elements of Free Verse •onomatopoeia—the use of words whose sounds echo their meaning (such as buzz) •parallel structure—the repetition of the same or similar words, phrases, clauses, or sentences What Shapes Free Verse? Free verse is not entirely “free” or without rules. Free- verse poets organize their poems using •the natural, unstructured rhythms of spoken language •important images and patterns of images Free Verse and Cadence Cadence is the natural, rhythmic rise and fall of language as it is normally spoken. •Cadence is different from meter, in which the stressed and unstressed syllables of a poetic line are carefully counted to conform to a regular pattern. •Free-verse poets depend on their own sense of balance, proportion, and timing when deciding when to end a line in their poetry—not a predetermined traditional pattern. Some Important Free-Verse Poets Although modern free verse was first written in France, important American writers have used it as well: •Walt Whitman •T. -
Speech & Drama Section
Part 3: Speech & Drama Section NATIONAL EISTEDDFOD OF SOUTH AFRICA™ PROSPECTUS 2016 -2017 SPEECH AND DRAMA SECTION © Copyrighted NEA 2016 (This document may only be copied or reproduced in any way what so ever for the purpose of participating in the activities of the National Eisteddfod of South Africa.) Share the magic of the performing arts! Contents CONTENTS .............................................................................................................. I PART 1 ................................................................................................................... 1 INTRODUCTION & OVERVIEW ................................................................................ 1 MESSAGE FROM THE CHAIRPERSON OF THE BOARD OF DIRECTORS ....................................................................... 2 MISSION STATEMENT ................................................................................................................................................ 3 NATIONAL EISTEDDFOD ACADEMY: AN OVERVIEW .................................................................................................. 4 ADJUDICATORS’ FORUM ......................................................................................................................................... 11 PROGRAM OF EVENTS FOR 2016 - 2017 ................................................................................................................. 12 NATIONAL EISTEDDFOD EISTEDDFOD OF SOUTH AFRICA™: DATES FOR 2016 ...................................................... -
Eisteddfod Handout Prepared for Ninth Welsh Weekend for Everyone by Marilyn Schrader
Eisteddfod handout prepared for Ninth Welsh Weekend for Everyone by Marilyn Schrader An eisteddfod is a Welsh festival of literature, music and performance. The tradition of such a meeting of Welsh artists dates back to at least the 12th century, when a festival of poetry and music was held by Rhys ap Gruffydd of Deheubarth at his court in Cardigan in 1176 but, with the decline of the bardic tradition, it fell into abeyance. The present-day format owes much to an eighteenth-century revival arising out of a number of informal eisteddfodau. The date of the first eisteddfod is a matter of much debate among scholars, but boards for the judging of poetry definitely existed in Wales from at least as early as the twelfth century, and it is likely that the ancient Celtic bards had formalized ways of judging poetry as well. The first eisteddfod can be traced back to 1176, under the auspices of Lord Rhys, at his castle in Cardigan. There he held a grand gathering to which were invited poets and musicians from all over the country. A chair at the Lord's table was awarded to the best poet and musician, a tradition that prevails in the modern day National Eisteddfod. The earliest large-scale eisteddfod that can be proven beyond all doubt to have taken place, however, was the Carmarthen Eisteddfod, which took place in 1451. The next recorded large-scale eisteddfod was held in Caerwys in 1568. The prizes awarded were a miniature silver chair to the successful poet, a little silver crwth to the winning fiddler, a silver tongue to the best singer, and a tiny silver harp to the best harpist.